The world of double bass technique is constantly shifting as we discover new ways to tackle this large and noble instrument. As strings, setup, and instrument construction have made playability easier, new thumb position opportunities have opened up for bass players.
Chris Kosky’s new book, The Thumb Transition Zone, has done a remarkable job codifying an approach to thumb position that bass players have grappled with in recent years. It’s written to address the needs of both jazz and classical players, with many musical examples from both genres.
About the Book
On her website, Chris states:
The Thumb Transition Zone tackles the fingering quagmire of the middle area of the Double Bass fingerboard. This method turns awkward into easy by providing exercises and etudes that give the bassist’s left hand the options needed to play effortlessly and more musically around the shoulders of the instrument.
Advanced players will find a solution to fingering in this traditionally tricky part of the fingerboard, while intermediate-level bassists, those just getting near and into Thumb Position, can learn an easier way around right from the beginning.
Chris Kosky, author of The Thumb Transition Zone
Traditional Thumb Position
To me, Chris has brilliantly defined and clarified something that bass players have been struggling with for years.
As Chris describes in the introduction of this book, most double bass methods have a “hard line” between lower positions (using 1-2-4) and thumb position. Traditionally, we’re taught to play 1-2-4 up to the F# just before the octave harmonic on the G string.
At this point, we are taught to switch to using the thumb along with 1, 2, and 3.
We begin learning thumb position with our thumb on the octave, and then venturing upward from there.
The Evolution of Thumb Position
Two of the most important developments in thumb position are the works of Franco Petracchi and François Rabbath.
Petracchi Approach
In his book Simplified Higher Technique, Petracchi outlines three basic thumb positions:
Chromatic: half steps between all fingers
Semichromatic: whole step plus two half steps
Diatonic: two whole steps plus one half step
This approach changed my life because it made me think about every finger either being on a specific note or hovering over a specific note.
Simplified Higher Technique takes these concepts and runs with them, putting the bass player through all sorts of configurations across the strings.
Petracchi takes the bassist as low as the D on the G with thumb position. This can be a bit of a reach for many players depending on hand size and string length.
Rabbath Approach
In his multi-volume Nouvelle Technique De La Contrebasse, François Rabbath organizes the bass into six positions. International Society of Bassists past president Nicholas Walker has put together a wonderful chart that explains it beautifully.
The Rabbath Technique organizes thumb position into three regions:
4th position: thumb on octave harmonic
5th position: thumb on D harmonic on G string
6th position: thumb on high G harmonic on G string
This approach to the bass also blew my mind when I discovered it. It vastly simplified the fingerboard for me and made me feel much freer navigating the bass.
Chris Kosky’s Thumb Transition Zone
Regardless of how we’ve learned the bass, we bassists constantly find ourselves in that awkward area just below the G harmonic. Chris has created a set of exercises and etudes that address this area just below the harmonic.
The book is organized around four positions. Chris also has a video demonstrating how to get into the thumb transition zone:
Each position gets its own chapter and set of exercises for navigating into and out of the position:
The E Position
The F Position
The F# Position
The E Flat Position
This position puts the notes a bit farther apart, and Chris has a video demonstrating how to roll the hand in thumb position to accommodate wider intervals:
Everything in the book is really well explained and Chris’ experience as a teacher shines through in each page. The focus on this one specific part of double bass technique is extremely useful, and I’ve found myself feeling more comfortable with this position as I work through the book.
Chris even adds in resting points in the book to give your hand a break. This is a smart move, since practicing a technique like this can take a while to build endurance and embed into muscle memory.
She also includes 5th chapter that mixes together all of the positions, musical examples from the classical world, and a list of jazz tunes and good positions for each one.
Final Thoughts
I’m a real fan of The Thumb Transition Zone. It’s well-conceived and from the mind of an experienced educator. I’ve noticed the benefits in my own playing, and I’m planning on incorporating it into my regular portfolio of teaching materials for students.
